Sunday, January 29, 2017

The Hartford Stage production of the
Bard’s The Comedy of Errors is one
lively, madcap, and eye-popping theatrical affair.There are many non-Shakespearean elements dropped into the
play including an homage to Bollywood musicals, some soft shoe routines, and a
bubbly beach blanket movie number.

Louis Tucci, Paula Leggett Chase and Alexander Sovronsky from "The Comedy of Errors."

Audiences are greeted to this
farcical comedy with an intoxicating set design inspired by the cliff-top towns
of the Greek island of Santorini.A
small dock, with two anchored boats, completes the picture.As the show unfolds accordion and
bouzouki playing actors accompany actress Paula Leggett Chase in an extended
rendition of the song “Never on Sunday,” further setting up the Hellenic tone
and mood of the show. After this ten minute prelude the jocularity begins.

The Comedy
of Errors, one of Shakespeare’s shortest works, revolves around two sets
of twins separated at birth and, unbeknownst to each pair, find themselves in
the same city on the same day sparking mistaken identities and bedevilment for
the citizens of the city of Ephesus.

The large cast is game for the
intoxicating pace of the play as they scamper about the stage, romp through
open portals, and engage in boisterous and slapstick shenanigans.

Darko Tresnjak directs with a
controlled frenzy.He has added
unique elements that, along with his creative team, make the production a
visual feast.There is so much
going on that even the casual Shakespeare fan will be entertained.The frantic pacing can sometimes get in
the way of the dialogue, but the thespians do splendidly getting about their
job in between all the wild diversions.

Matthew Macca and Ryan-James Hatanaka in "The Comedy of Errors."

Choreographer Peggy Hickey might be
having the most fun as she incorporates many styles of dance, both for just a
few cast members as well as the entire company.The Bollywood inspired number is especially spirited and
energizing.

Some of the real stars of The Comedy of Errors are the creative
crew.Foremost is Darko Tresnjak, whose
set design is a wonder and feast for the eyes.The numerous costumes crafted by Fabio Toblini are playful
with many being brightly colored confections.Matthew Richards’ lighting design and Jane Shaw’s sound construction
magnify and enhance the onstage antics.

The Comedy
of Errors, a zany and diverting production, playing through February
12th at Hartford Stage.

Saturday, January 28, 2017

Last year I heard about the
creation of BroadwayCon—based
on the hugely successful ComicCon in San Diego, which highlights comics,
science fiction and where movie studios and Hollywood and television stars come
out in force to promote their upcoming events.Even though the first BroadwayCon coincided with one of New
York City’s largest snowstorms of the season, the proceedings were successful
enough to produce a 2017 version with the hope of making it a yearly
pilgrimage for theater aficionados and fans.

This year, now ensconced at the immense
Jacob Javits Convention Center
on the far West Side of Manhattan, through Sunday, January 29, 2017, BroadwayCon
is bigger and better.Press representative Tori Bryan said theywere expecting up to 5,000 people a day.So, what exactly happens at BroadwayCon?

BroadwayCon is a mash-up of
lectures, panel presentations, Q and A sessions with Broadway actors and
actresses, performances, sing-along’s, nighttime concerts, dance parties, and a
marketplace with dozens of vendors and companies selling and promoting their
wares.There are even autograph
sessions with such theater luminaries as Donna Murphy, Joel Grey, and Chita
Rivera.In short, BroadwayCon is a
three-day smorgasbord of activities that would satiate any theater
enthusiast.In short, according to
its organizers, “it is a chance to get the complete Broadway fan experience,
from every angle…and to celebrate the shows they love with people who bring
them to life.”

As a self-proclaimed theater geek,
I arrived early Friday morning to immerse myself with the enthusiasts, some
dressed as characters from such current Broadway hits as Elphaba from Wicked and the women from Waitress.I was more interested in attending the historical and
creative panel presentations then the other fan-based activities.In the morning a diverse group of stage
managers talked abut their craft.The individuals--Matthew Aaron Stern, Marybeth Abel, Narda Alcorn, Matt DiCarlo, and Christ Ney--delivered
a highly informative presentation on their behind-the-scene work.It gave the packed audience insight
into the role of stage manager and gave everyone a better appreciation for what
it means to put on a show.

In the afternoon, members of the
cast of William Finn’s ground-breaking, 1979 musical, In Trousers, reunited to present a highly informative, enjoyable
and very amusing 60 minutes of stories behind the making of the show.Mary Testa, Alison Fraser, and Chip Zien were hugely entertaining with composer and librettist William Finn
proving to be an extremely engaging raconteur.I wish there would have been more panels like this, which
fused musical theater past and present.

The Market Place is the centerpiece
of BroadwayCon.Placed
squarely in the middle of the action, there are multitudes of booths selling
Broadway-related paraphernalia and crafts, services for people in the field,
podcasters, arts organizations, and more.I was swept away with happy memories when I visited the Al Hirschfeld Foundation both.During my formative years in the late 1960’s and 1970’s I
always looked forward to the Arts and Leisure section of the Sunday New
York Times where splashed on the front page was a beautifully drawn
Hirschfeld rendering from a
new Broadway show or a Broadway personality.The joy was trying to find the number of “Ninas” hidden within the ink and pen
drawing (Nina was the name of his daughter).You always knew how many to search for by the number at the
end of Hirschfeld's signature alongside the picture.

There were other vendors I thought
stood out and tickled my fancy.A
number of them are presented below in photos.

Wednesday, January 25, 2017

The exploration of relationships,
ever-changing and pulsating, is the focus of the taut, sometimes explosive
drama, Sunset Baby, playing at
Theaterworks through February 19th.

Playwright Dominique Morisseau introduces
three characters.Nina (Brittany
Bellizeare) is a low level street hustler who, along with her male
companion/lover and handler, Damon (Carlton Byrd), plies the streets of New
York eking out a tenuous existence.They come across as two soulless individuals, existing day-to-day.That suddenly changes when Nina’s
father Tony (Todd Kenyatta), a former Black Panther type activist, suddenly enters
her life after many, many years fighting for social equality and other causes
and also serving time in jail.He
wants to locate letters his wife, Nina’s mother, left to her daughter after her
death.They are worth,
potentially, many of thousands of dollars because of her prominence in the
movement.That sparks conflict
between the young woman and Damon as well as dredges up years of pent-up
emotions and rage towards her father before an unexpected resolution involving
the threesome is revealed.

Ms. Morrisseau’s drama presents a
slice of realism.The dialogue is
strong and feels authentic.However, the back-story of each character is sketchy and perplexingly
incomplete, which gives the audience pause as to each character’s true
motivations.The real focus of the
show, even after the introduction of Nina’s long missing parent, takes time to
coalesce.Themes of family and
commitment swirl around the production, but they are uneasily pushed aside
towards the end as the trajectory of the play suddenly changes to Nina’s
resurrection as a determined, purposeful and independent woman.

The cast is compelling and show
total commitment to their characters. Todd Kenyatta gives Tony a thoughtful and
weighty demeanor.He is
reflective, yet determined.The
actor’s hardened gaze and discourse elevate a purposeful demeanor.Brittany Bellizeare presents Nina as an
emotionally battered woman with numerous unresolved issues and aspirations.She is strong and feisty, not
necessarily comfortable in her own skin.The numerous costume changes she manages throughout the play could act
as a metaphor for her desire to constantly try to reinvent herself.While the actress demonstrates steely
grit, a degree of tenderness or vulnerability would have strengthened and
humanized her portrayal.

Carlton Byrd imbues Damon with both
rage and lovingness.Street savvy
and book smart, he exudes an arrogant self-pride that, in the end, makes him
irrelevant and disposable.

Director Reginald L. Douglas brings
an edginess to the production.At
times the atmosphere can be tense and confrontational.The fervor is amplified by shouting and
accusations, which works for most of the scenes, but is occasionally relied on
too heavily.Crafting a
three-person drama on a small, one set stage can be challenging but, for the
most part, Mr. Douglas deftly manages the task.His insertion of Tony’s plaintive, dimly lit soliloquies, at
key junctures of the show, is, at first, baffling and inscrutable until the
show’s conclusion.It is only then
we realize the purpose and poignancy of the solemn, matter-of-factly delivered verse.

Saturday, January 21, 2017

[title of show], the affable and at times amusing musical
now playing at Playhouse-on-Park in West Hartford, gives hope to the multitudes
of individuals that dream of creating a show for The Great White Way. Hunter
Bell, who wrote the show’s book; and Jeff Bowen, the score; were two out of
work actors when the genesis of their quirky, decidedly downtown flavored show,
came together. Simply, with three weeks until the submission deadline for the
2004 New York Musical Theater Festival, the two men concocted a musical based
on two struggling actors named, surprisingly, Jeff and Hunter, who have only
three weeks to write a musical for an upcoming festival. The rest is, as they
say, theatrical history:

1.Their entry was
accepted.

2.After playing
their six performances at the New York Musical Theater Festival, an
Off-Broadway producer optioned the production for an open run at the Vineyard
Theater.

3.A cast album was
recorded and released on Ghostlight Record.

4.After the
Off-Broadway stint, the two collaborators produced a series of Internet videos
for YouTube to keep interest in their off-spring alive.

So, what exactly is [title
of show]? Well, it is not a large scale musical with a huge cast, lavish
sets, over produced production numbers, or a fully stocked pit band. [title of show] consists of four,
casually dressed people—Hunter (Peej Mele) and Jeff (Miles Jacoby), and their
two female friends—Susan (Ashley Brooke) and Heidi (Amanda Forker)--who work on
bringing the musical to life in Hunter’s slightly drab apartment. With only
four chairs on stage, along with musical director, Larry (Austin Cook), sitting
behind his keyboard—the sole musical accompaniment, [title of show] concentrates on the actor’s angst and insecurities
and, finally, their exuberance as they conceive and mold their show.

The 100 minute, intermission-less production, caters to a more
knowing theater going crowd. Obscure musical theater and cultural references
populate the show. One of the more
creative numbers is the song “Monkeys and Playbills,” which showcases
memorable, and not so memorable, Broadway flops within its lyrics. They include such duds as “Dude,”
“Merrily We Roll Along,” “Smile” and many others.The January 22, 2017 broadcast of my radio program, “On
Broadway,” features many of these songs.

The four actors are good-natured and bring an impetuous flair
to their performances, but they don’t necessarily gel as a group.Individually, Peej Mele is a tad over-the-top as Hunter.There could have been less histrionics
on his part.Miles Jacoby, as
Jeff, is the ying to his partner’s yang, but more energy on his part would have
enlivened the duo’s partnership.Ashley
Brooke, as Susan, is game for the work-in-progress nature of the musical, but
could have upped her avidity to the role. Amanda Forker gives Heidi a knowing and affecting,
world-weariness to show biz life.The actress also has a dynamic singing voice.Austin Cook, as Larry the musical director, almost steals
the show with his deadpan delivery of dialogue snippets and very impressive keyboard
prowess.

The score by Jeff Bowen can be witty and knowing, without
being overly challenging to the ears.The direction by David Edwards is breezy and light.There is a lot of silliness, schtick,
and somewhat choreographed routines to keep the four thespians occupied.The show has a somewhat slapdash
quality to it, which stays in line with the nature of the musical’s creation.The production, though, would have been
helped with a greater dollop of energy and fine-tuning of the
characterizations.

[title of show], a cheerful and diverting musical
that provides proof in the power of positive thinking as well as being a tonic
for musical theater aficionados. Playing through January 29th.

Tuesday, January 3, 2017

The show Dear Evan Hansen is an electrifying, captivating new musical with an
emotionally powerful and praiseworthy performance by Ben Platt in the lead role.

Evan Hansen is an extremely anxious
high school student, on medication and seeing a therapist for his sometimes
debilitating condition.He has no
friends and, for all intents and purposes, is invisible to his peers.He is alone, until a classmate commits
suicide. Through an escalating series of lies, fueled by unceasing and
insatiable social media networks, his stature and presence begin to change with
unanticipated and distressing results.

Ben Platt from "Dear Evan Hansen."

The book by Steven Levenson is an
emotional rollercoaster of impassioned scenes and straightforward honesty that connects
to today’s teenagers.The story
can sometimes be agonizing to watch as the characters try to negotiate the new
landscape that is developing, changing, and spiraling out of control all at
once.But Dear Evan Hansen is not just about angst and crisis.It also focuses on the a multitude of relationships
that are spawned and changed from the events on stage.

The score by Benj Pasek and Justin
Paul is heartfelt with penetrating lyrics that explore the inner turmoil Evan
is going through as he confronts a new reality.The songs can be raucous with an in-your-face impact.They are playful, with a serious
undertone.And there are tender
ballads that reach to the depths of the character’s souls as well as reveal the
agony individuals feel upon the death of a son.

The cast of "Dear Evan Hansen."

The cast, led by Ben Platt, is impressive,
imbuing their characters with an intensity and delicacy that can be poignant as
well as somber.Platt is the
anchor.He is almost always on
stage and singing the majority of the score.From his first entrance on stage, with nervous tics and
darting eyes, you realize this is a young man that has fully taken his acting
prowess to a heightened level.He
is believable and authentic.The
other members of the acting troupe include Laura Dreyfus as the sister of the
deceased student, Zoe Murphy, and the one who Evan pines for.The young actress deftly projects a
lost innocence and whirlwind of emotions as she tries to make sense of the
sudden change in her family dynamics and personal life.Rachel Bay Jones, as Evan’s mother
Heidi, aptly portrays a mother frustrated and panicked over a son she cannot
reach.Jennifer Laura Thompson is
superb as Cynthia Murphy, mother of the departed son.Her grief and confusion strikes a chord with the
audience.Your body quivers with compassionate
understanding as she pleas for any scrap of information about her enigmatic
boy.Michael Park as the father,
Larry Murphy, gives a finely etched portrait of a man aloof, at first, over the
death of his son, who gradually begins to wrestle with his feelings, as he
tries to come to grips with the sudden shake-up in his life.Mike Faist as Connor Murphy, the high
school student who suddenly dies, gives a nicely layered performance in life
and death. Will Roland as Evan’s “relationship friend,” Jared Kleinman, provides
a good dose of comic relief to off-set the weighty mood of the show.Kristolyn Lloyd as high school
classmate, Alana Beck, gives an understated and compelling performance.She is not unlike Evan Hansen in her
anxiety and timidity.

Laura Dreyfus and Ben Platt from "Dear Evan Hansen."

Director Michael Greif, who has sensitively
helmed other musicals with dysfunctional characters such as Next to Normal and Grey Gardens, skillfully guides the production from its
inauspicious beginnings through to its cathartic ending.He smartly keeps Ben Platt center
stage—aching and trying to find his pathway through the storm he has
unleashed--with the other characters swirling around his nexus.Greif artfully incorporates the social
media maelstrom through pulsating, ever-changing screens.He also intelligently allows the
material to unfold naturally without calling undue attention to the series of
events that are unfurling onstage.

The creative team of scenic
designer David Korins, Projection Designer Peter Nigrini, Lighting Designer
Japhy Weideman and Sound Designer Nevin Steinberg show their expertise and
presentation skills during scenes where the stage of the Music Box theater is
transformed into a hive of activity with screens projecting social media buzz,
lights and sound amplifying the dramatic tension.

Ben Platt in "Dear Evan Hansen."

Dear Evan
Hansen, a gripping, dazzling new musical that speaks openly and
directly to the culture of today.